The symbolic motifs in contemporary architecture of libraries – most frequent trends

Tomasz Kruszewski

*

The symbolic motifs in contemporary architecture of libraries –

most frequent trends

Introduction

John E. Buschman noted that the trends in the new

phi-losophy of library management include among others a de-VLUHWRFUHDWHDFOHDUODQJXDJHRIDOLEUDU\EXLOGLQJDQG¿UVW of all to present it in a high-tech convention [5, pp. 96–97]. This is a popular convention but it should be stressed that the modern construction technologies do not need to be LGpH¿[Hof a building. On the contrary, more and more frequently they are a tool of presenting other ideas and philosophy. The contemporary library can assume human-ized features in new dimensions. The literature on library science which employs the terminology from architecture

and construction engineering, uses the term “intelligent building”. A building is “intelligent” because it has infor-PDWLRQ V\VWHPV VXFK DV VHFXULW\ HUJRQRPLFV ÀH[LELOLW\ [3, p. 41]. Unlike the old library which ‘lived’ because of its books, the modern library ‘lives’ also – or maybe sometimes primarily – because of its building. Thus the primary functions of the library are less important than the technological façade and symbolically are subjected to it. Although the modern architectural solutions determine the ‘life’ of a library, they are in the background and they RQO\VHUYHDVWRROVWRH[HFXWHWKDWLGHD

Trends

The “philosophy of building” has its restrictions too, the main of which is fashion, though it is not subjected to it. Georg Simmel saw fashion as a form of life which should guarantee a compromise between the social trend to equalize and the individual trend to vary [24, p. 22]. The libraries from different times provide a tangible testimony to following fashion and not only utility criteria when de-VLJQLQJ7KHSKHQRPHQDZKLFKFRXOGEHFODVVL¿HGQRZD -days as fashion include ecologization and westernization of spatial and aesthetic designs of libraries. It is fashion-able to search for original spatial developments and ideas. Fashion includes everything regarding social activity of PDQ$QDUFKLWHFWXUDOVW\OHZKLFKGRPLQDWHVLQDVSHFL¿F SHULRGLVIDVKLRQDEOHDQGFRQVHTXHQWO\VSHFL¿FEXLOGLQJ materials and technologies are in fashion too. All this af-fects the transformations in the mental paradigm of the viewer of architecture. Fashion provides an opportunity to

make use of a single raw material simplicity of a building. +RZHYHUDV0DUHN&]\ĔVNLQRWHGWKHGRPLQDQFHRIRQH kind of material is a stressful factor in the building en-vironment. Nowadays, glass has become such a material and it can be used by engineers not only as a traditional material to let in more light inside the interiors but also as DFRQVWUXFWLRQHOHPHQWLQHJÀRRUVEDOXVWUDGHVRUVWDLU -cases [6, p. 59]. Buildings dominated by one building ma-terial are nothing new as for centuries marble or sandstone served a fashion function, as does glass today. However, transparent glass makes an indelible impression which is uncommon when other materials are used – and that is why it can potentially cause stress among some viewers of architecture. On the other hand, it is the very transpar-ence which can reduce stress reactions in other viewers compared to, e.g. heavy concrete structures.

In modern library buildings, light is used as an element of composition on an unprecedented scale. It is possible be-cause of technology and the very special fashion for trans-parency and ecology. This is evident in such projects by 1RUPDQ)RVWHUDVWKH%ULWLVK&UDQ¿HOG8QLYHUVLW\/LEUDU\ * Institute of Information Science and Book Studies, Nicolaus

the roof around the old reading room of the British Mu-seum, the John Spoor Broome Library at California State University Channel Islands or perfect blob architecture – and in a sense the crowning achievement of this architect’s style – the Philological Library (Philologische Bibliothek) in Freie Universität Berlin from 2005. It has a shell shape ¿OOHGZLWKDOWHUQDWHUHFWDQJOHVRIVLOYHUDOXPLQXPDQGWUDQV -parent glass which allows for the penetration of as much light as possible (Fig. 1). The library has been dubbed the ³%HUOLQ%UDLQ´±ZKLFKVKRZVWKHV\PEROLFVWUHQJWKRIWKH institution gained through the sensual perception of light absorbed by the building during the day and emanating it after twilight. The shape of the structure makes that after-glow look like a halo.

%XLOWLQDFFRUGLQJWRWKHGHVLJQE\*RUGRQ%XQ -shaft, Beinecke Rare Book and Manuscript Library has EHHQ GXEEHG WKH ³3RPSRXV 7HPSOH´ ,W ORRNV HVSHFLDOO\ impressive after dark. Due to the see-through marble slabs in the façades – in the opinion of Charles Jencks – the build-LQJ ORRNV OLNH ³D SLOH RI WHOHYLVLRQ VHWV ZLWK QR SLFWXUH´ [15, p. 19], which is an unsuccessful attempt at creating a chiaroscuro effect as the pictures of the façades with the use of pre-cast wall elements. It is an interesting example of a compact body of the building which from a simple cuboid seen from outside transforms into a closed space which helps to concentrate (Fig. 2). The ambiance which PLJKWQRWPDWFKRWKHUW\SHVRIOLEUDULHVKDUPRQL]HVZLWK the historic collections the same as the body of the build-ing designed on an organic, elliptical plan matches the offer of the university library at the University of Cottbus (In-IRUPDWLRQV.RPPXQLNDWLRQVXQG0HGLHQ]HQWUXP%UDQ -denburgische Technische Universität Cottbus). Opened in 2005, it has become the symbol of the university, the city, and the region so characteristic in a newly promoted city without any long-lasting academic traditions. The Library’s façade – its glass skin – was covered with entangled texts in different languages which are the illumination of the func-tion of the building both literally and metaphorically. The DUFKLWHFWV-DFTXHV+HU]RJDQG3LHUUHGH0HXURQUHDOL]HG the idea of printing on glass façades also in another library designed at the same time: Bibliothek der Hochschule für

nachhaltige Entwicklung Eberswalde, however, that library KDVDOVR¿JXUDOPRWLIVWDNHQIURPWKHSKRWRJUDSKVE\WKH *HUPDQDUWLVWSKRWRJUDSKHU7KRPDV5XII7KHVDPHDVLQ the Berlin blob, after dark this library’s interior is lit by the building surrounding and the lines of letters create a chiar-oscuro effect. The 32-meter-tall building, with no front or back, resembles a stronghold and the letters are the symbol of hidden treasures [8]. The image of a symbolic shelter RINQRZOHGJHLVLQWHQVL¿HGE\WKHEXLOGLQJ¶VORFDWLRQRQD KLOOZLWKQRWDOOSODQWVRURWKHUVWUXFWXUHVDURXQGLW:KHQ mentioning the shelter, the role of light should be empha-VL]HGDJDLQ±WKLVWLPHLWLVHOHFWULFOLJKWZKLFKZKHQWXUQHG RQLQVSHFL¿FSRLQWVPDUNVHPHUJHQF\H[LWV7KHEXLOGLQJ¶V lighting is then its integral part at symbolic (emanation of knowledge) as well a pragmatic level (safety and ecology). 7KHUHVWULFWLRQVZKLFKDUHXVHGWRUHDOL]HDVSHFL¿FLGHD to a certain degree determine the way a body of the build-ing is looked at, its cultural belongbuild-ing, and utility func-tions, which does not mean, however, that they occur at the expense of the user. In fact the restrictions affect the form and spatial development which may be especially convenient from an individual point of view. Nowadays, that connection radiates stronger but it was present in the past too. Apart from ethical issues, as already mentioned – ecology is now in fashion. Consequently, when designing Fig. 1. Philologische Bibliothek – Freie Universität Berlin.

Photo: D. Ausserhofer

Il. 1. Philologische Bibliothek – Freie Universität Berlin. Fot. D. Ausserhofer

Fig. 2. Beinecke Rare Book and Manuscript Library. Photo: M. Marsland / Yale University Il. 2. Beinecke Rare Book and Manuscript Library.

libraries, the environmental issues are especially impor-tant, which is evident in the Japanese architects’ designs. Their buildings, which are the function of nature – land-scape and colors which are present in the surrounding HQYLURQPHQWFRRSHUDWHZLWKWKHHOHPHQWV$V:ROIJDQJ :HOVFK SXW LWA building is not a closed crystal but an

HOHPHQW LQ D EURDGHU FRQWH[W 2XWVLGH LV LQVLGH DQG LQ -side is out-side [26, p. 186]. The presence of the cultural and ethnic perception of the natural environment can be VHHQLQWKHSURMHFWVE\.D]X\R6HMLPDDQG5\XH1LVKL]D -ZD6$1$$JURXSZKLFKDUHUHDOL]HGLQ(XURSH,QWKH Rolex Learning Center in Ecublens near Lausanne, its ZDY\URRISXQFWXUHGZLWKODUJHHPSW\KROHVUHÀHFWVDQG echoes the serpentine form of a nearby mountain range. 7KH³ODQGVFDSH´EXLOGLQJRQWKLVDFDGHPLFFDPSXVE\WKH lake – with a multimedia library, language learning center, RI¿FHVHDWLQJSODFHVOREE\±LQIDFWGRHVQRWKDYHLQWHU -nal walls. The emptiness, which is so typical of the far-east spirituality, helps to calm down, sending the message thatpossessing nothing, one possesses everything and that HPSWLQHVVLVZKHUHIRUPLVERUQ [1, p. 50]. It is a mate-rial space whose character is liberating and generating. Its large space as well as its surrounding make the building center of student life – it is open regardless of perspec-tive, symbolically connects with nature through physical JOD]HGEULGJHVEHWZHHQSDUWVRIWKHFRPSOH[7KHDUFKL -tecture of sustainable development in the far-east concepts shows two elements affecting the form of the building: culture and nature, as well as, assuming a more techno-JHQHULFSDUDGLJPFXOWXUHDQGFLYLOL]DWLRQ>SS±@ 7KH¿UVWUDWKHUFRQVHUYDWLYHWKHRWKHU±G\QDPLF%RWKRI them, however, which is the architectural program of the Rolex Learning Center, are inseparably connected.

Nature, as the instance to which the “philosophy of EXLOGLQJ´ UHIHUV FDQ EH D KRUL]RQWDO EDFNJURXQG EXW LW can also be present near a building or inside it. Biblioteca -RDQ0LUyLQ%DUFHORQDIURPWKHODWHVORFDWHGQH[W WRDSDUN±PDNHVXVHRILWVVHUHQLW\³FRQQHFWLQJ´WKURXJK panoramic windows in the reading room and at the same time isolating from the tumult of the city located on the other side of the building. It has a water cascade whose sound and movement provides a positive motivation to

read [12, pp. 97–98]. This is a dynamic picture but also VRRWKLQJDVLWLVIDUIURPWKHDUWL¿FLDOXUEDQUXVK

The symbolism of water in a broader context is visible in the project by Charles Correa of Jawahar Kala Kendra in Jaipur in India. The complex has a square plan further divided into nine squares alluding to a model of cosmos ±PDQGDODVV\PEROL]LQJWKHELUWKRIDKDUPRQLRXVIRUP from chaos. The library – which is its integral part – covers it. Similarly to all other elements, the library pavilion has its individual climate with a contemplative atmosphere. ,WLVLQWHQVL¿HGE\WKHZDOOVPDGHRIUHGVDQGVWRQHZLWK the symbols from mandalas engraved in them, the nearby enclosed court, and a static small pond in the library. Simi-larly to the Library in Barcelona, ecological motifs were the tools used to develop the symbol-forming space in the library and around it. The religious motifs in Jaipur are VLJQL¿FDQWDQGWKLVNLQGRIUHIHUHQFHVDUHSUHVHQWQRWRQO\ in case of adaptations of ecclesiastical buildings.

Another interesting architectural design based on reli-gious subjects is Tønsberg og Nøtterøy bibliotek in Nor-way – it is a project of the local group L2 Arkitekter from the late 1980s. The ruins of a medieval monastery of St. Olaf, whose remains are displayed under the Library, were the inspiration for the form of the building. In order for them to be able to radiate their spirituality, the amount of JODVVLVVLJQL¿FDQWLQERWKWKHÀRRUVRIWKHEXLOGLQJDQG LWVJODVVIDoDGHZKLFKUHÀHFWVQRWRQO\WKH³ZRUOGRIWKH VWUHHW´LQ7¡QVEHUJEXWDOVR±LPPDWHULDOO\±LWVROGSDVW The structure of the roof is supported on so called “trees RINQRZOHGJH´)LJ±VWHHOFROXPQVEUDQFKLQJRXWWR DQXPEHURISUR¿OHV7KH\DOOXGHWRWKHPRQDVWLFFRP -SOH[LQWZRZD\V¿UVWO\±LQGLFDWLQJWKDWSUREDEO\WUHHV grew in that area, and secondly – regarding the already described role of vertical structures, namely their function RIFRQQHFWLQJWKHWHPSRUDODQGHWHUQDOZRUOGV$QG¿QDOO\ WKHURRI±VXSSRUWHGRQWKH³WUHHV´±LVXQGXODWLQJDVLI it was the surface of the nearby sea. The waves are also a sign connoting the transcendence of the place – this is ZKHUHWKH9LNLQJVZHUHEXULHG7KHUHFXUULQJFRQFHSWLRQ of folds in architecture is not, it seems, unusual or acci-GHQWDOLWLVUDWKHUDQDWWHPSWDWPDWHULDOL]LQJHWHUQLW\LQ DEXLOGLQJ7KHDI¿OLDWLRQSURFHVVHVZKLFKLQWURGXFHDIRU -HLJQVWUDLQ1RUGLFSDJDQFXOWXUHWRDVSHFL¿FZRUNFRH[ -LVWZLWKWKHSURFHVVHVRIIRUPXQL¿FDWLRQ>S@&RQ -noting substance is obviously more inconspicuous than the denoting aspect, however, it makes the building more convenient to the function than to use. It is tangible that an attempt is made at taking the purity of nature as well as transcendence of human spiritual life and introducing them into the symbolic sphere of library architecture.

7KHH[DPSOHRIWKHGHVLJQIURP7¡QVEHUJWHVWL¿HVWR the fact that the pluralistic compilation of cultural codes, breaking the bond connecting form and function of a build-ing, contrasting selection of its decorations, has been fash-ionable in architecture for several decades. These activi-ties are becoming a play with shape, sometimes with the viewer, where what is absurd becomes a symbol as well as a tool. Furthermore, they are also a methodical judgment of the form – serious and balanced. These features are presented by the libraries which have been designed for Fig. 3. Tønsberg og Nøtterøy bibliotek. Photo: P. Fiskerstrand

DOPRVWKDOIDFHQWXU\E\,VR]DNL±LQFOXGLQJWKH-DSDQHVH Oita Prefectural Library and Kitakyushu Central Library, the Australian Bond University Library, the Japanese Toy-RQRNXQL/LEUDU\IRU5HVRXUFHVDQG¿QDOO\WKH6KHQ]KHQ Cultural Center in China (where a library is one of the main parts) as well as the Qatar National Library which is still, however, only a project [1, pp. 118–119], [20, pp. 38–41]. They all have unique yet moderate shapes and de-tails, indicating that the architect was looking for a simple language of form, infrequently drawing from historical European styles and playing with materials. They feature DQHOLWHFRGH>S@,I,VR]DNL¶VOLEUDULHVFDQEHFODV -VL¿HGDV³(VSHUDQWRDUFKLWHFWXUH´WKHQWKHFXOWXUDOSOD\LV the catalyst of that compilation.

The problem which results from abundant information causes an excess of substance, which is not necessarily positive. Jean Baudrillard noted that the character of in-formation can be negative for culture. It conveys senses DQGPHDQLQJVQHXWUDOL]LQJDQG³GHYRXULQJ´WKHPDWWKH same time. Instead of facilitating communication, infor-mation is disappearing in the communication simulation [2, p. 102]. This phenomenon occurs in relation to many modern library buildings where information itself replac-es the substance. Examplreplac-es include the cultural façade of WKH8QLYHUVLW\/LEUDU\LQ:DUVDZRUWKH3RZHOO7HPSR -rary Lib-rary at the University of California in Los Ange-les (Towell Library). This is a temporary library built for the duration of the repair of the main building. It resem-bles a hangar or an industrial warehouse. It was designed LQWKHRI¿FHVRI&UDLJ+RGJHWWVDQG+VLQ0LQJ)XQJWR be used for temporary storage of the library collections in a safe place. The ideas behind that building deny the ideas of a library, regardless of its structure. The message is in-coherent – the library is an institution for storage of cul-tural heritage for next generations, here it is temporary. It is a simulacrum which only simulates the social function because it does not make a permanent impression. There is a physical space called a library but is not a library – it is a storage place at the most.

As a rule storage places are functional, which for li-braries over the last several years has been brought up as their fundamental value. Modern designs – despite the fact that that current is in reverse – have dominated thinking about libraries so much that the recommendations made by Henry Faulkner-Brown still in the 1970s [11, pp. 3–8] are quoted by librarianship experts almost like a mantra all over the world. However, the functionality is not a simple FRQVHTXHQFHRIVWDQGDUGL]DWLRQDQGXQLYHUVDOLW\,WLVDOVR an expression of local construction needs and fads. Al-though, postmodern architecture, or more precisely one of its currents – deconstruction, unlike modern architecture, draws from cultural patterns, including ethnic ones [12, p. 21], the modern man – as Chantal Delsol put it – is not certain of the values of those cultural references and – at the most – communicates them timidly [9, p. 76]. It is quite paradoxical in the context of the opinions, which were au-daciously promoted already before the war – even in Po-land – on taking into account the national cultural distinc-tions and social structures in architecture and design [28, p. ±@+RZHYHUUHWRXFKLQJRXURZQFXOWXUHDQG³¿OWHULQJ´

it through separate systems has become the basis for de-veloping ideas for new buildings. Consequently, the main IHDWXUHLVWKHHIIHFW±RUZKDWLVPRUHIUHTXHQWO\GH¿QHG DVD³VNLQGHHSHIIHFW´±ZKLFKKDVUHSODFHGWKHW\SRORJL -cal, morphologi-cal, and tectonic profundity of traditional architecture [18, p. 37]. This is how contemporary librar-ies are designed. Local and ethnic elements coexist with foreign ones, complementing one another. This rule can be H[HPSOL¿HGE\WKHSURMHFWRI)UDQFHV+RZDUG*ROGZ\QRI the Regional Branch Library in Hollywood from 1986. The OLEUDU\EXLOGLQJZDVGHYHORSHGE\)UDQN2*HKU\DQGLWV IRUPLVHPSKDVL]HGERWKE\LWVIHDWXUHVVFDOHDQGWKHFRP -position principles (symmetry). It is both usual – because of the simple cuboidal shapes and monumental – because of the same shapes and their combination. It is to the same degree pompous in Hollywood style and intimate for the users who need it [13, p. 120].

Coincidently, the form of the building also conveys DGHHSO\URRWHGLGHDRIOLEUDULHVGH¿QHGDVVKHOWHUVIRUFXO -tural heritage. Their means of protection at technological level correspond to those in traditional fortresses. They KDYHWDOOZDOOVZKRVHVXUIDFHLVUHVLVWDQWWRJUDI¿WLDQGKXJH JDWHV'LDQH*KLUDUGRGHVFULEHGVXFKEXLOGLQJVDVRPEHU DQGFRQ¿QHGEXWDOVRDVSURYLGLQJLQWHUHVWLQJDQGVSDFLRXV interiors for those who use them [12, pp. 101–102]. Ethnic riots that took place in Los Angeles in 1992 – the Rodney King Riot – demonstrated that the ideas of civil fortress en-gineering does not belong to the past.

3OD\LQJ LV HIIHFWLYH WRR ,JQRULQJ WKH VLJQL¿FDQFH RI shape and considering it a play covers up the archetypical SDWWHUQV RI VSHFL¿F W\SHV RI EXLOGLQJV DQG HYRNHV /pRQ Krier’s concerns. The buildings of such libraries as the San Antonio Public Library or Peckham Library in Lon-don (Fig. 4) do not communicate information about their use and functions. However, they are not “misleading ob-MHFWV´DVWKH\GRQRWHYRNHDQ\DUFKHW\SLFDODVVRFLDWLRQV and as such they are not compositionally inappropriate.

Fig. 4. Peckham library. Photo: Stephen Cadman Il. 4. Peckham library. Fot. S. Cadman

Unlike modern forms based on the right angle geometry, WKH\DUHLQWULJXLQJ±LWLVGLI¿FXOWWRSDVVE\WKHFHQWUDO library in San Antonio without noticing surprising geo-metric combinations of groups of solids composing the EXLOGLQJRULJQRUHWKHEDOOVUROOLQJGRZQWKHUDPS³IUR]HQ LQWLPH´

Asymmetry is one of the composition principles often used in the post-modern world. It is seen in deconstruc-tivism where rationalism and functionalism were replaced with chaos which, however, should be a readable text of culture – a technological metaphor. The works of archi-tects who want to reject the modern restrictions of form UHÀHFWWKHIDPRXVFODLPE\-DFTXHV'HUULGDWKDWthere is nothing outside the text [10, p. 163]. If it is acknowledged WKDWHDFKLQWHUSUHWDWLRQRIDUFKLWHFWXUHLVHTXDOO\MXVWL¿HG then free play with geometry and the use of curved lines has turned the forms of deconstructivists into texts whose interpretations go far beyond what they were supposed to be used for. The universally known Seattle Public Library is a building perceived independently of the institution which uses it. Although its building was designed as a li-EUDU\LW³KLG´ZLWKLWVPHDQLQJVLQWKHVKDGRZRIYDOXHV conveyed by the building designed by Rem Koolhaas. It WHVWL¿HVWRWKHIDFWWKDWLQVSLWHRIWKHJURZLQJXQL¿FDWLRQ of library services, the diversity of library architecture can be still visible, depending on their type. This is what is happening in the United States where academic libraries have less impressive buildings than public libraries. Fur-thermore, their design is not as grandiose and spectacular >SS±@,WLVGLI¿FXOWWR¿QGDFDGHPLFEXLOGLQJV which are as impressive as the public library in Seattle, although their dynamic evolution in the 19th _{century and} in the years 1910–1945 – the period of huge constructions – might indicate a different trend [17, p. 85].

:KHQ EXLOGLQJ WKH QHZ 8QLYHUVLW\ /LEUDU\ LQ 8WUHFKW (8QLYHUVLWHLWVELEOLRWKHHN 8LWKRI ± 8QLYHUVLWHLW 8WUHFKW),

DVSHFL¿FJHRPHWULFPRGXOHZDVXVHG±DQLGHDFRQQHFWHG ZLWKZKDW,VR]DNLFDOOHG³DPSOL¿FDWLRQ´ZKLFKLVDGHVLJQ -ing method consist-ing in amplify-ing the form of a square. It results in an empty frame – a form of cages which can be IUHHO\¿OOHG>SS±@:KDWVHHPVWREHDV\PPHW -ric is only the outer layer within which black concrete slabs

are loosely associated (actually concrete is used to provide shadow in the places where there are racks with books) and large sections of transparent glass that is imprinted with bamboo forests (Fig. 5). As demonstrated by the projects IURP+HU]RJ 0HXURQWKLVKDVEHHQDSRSXODUWHFKQLTXH of decorating façades over the last couple of years. The dominance of asymmetry demonstrates in those subtle de-viations from simple shapes. Although the building does not provoke or raise excessive emotions, it signals its large volume. The rectangles in the façades and the interior VSDWLDOOD\RXWDUHGLIIHUHQW¿OOHGRUHPSW\V\PEROLFDOO\ surrounding nature (stems) and culture (recesses in walls SURYLGLQJYLHZRIWKHOLEUDU\FROOHFWLRQ:KDWHPHUJHV is unrestricted space – allowing for asymmetric activity compared to standard users’ expectations of an academic library. The library is a building which stands out in the FKDRWLFGHYHORSPHQWRIWKHXQLYHUVLW\FDPSXV>@:KDW is grotesque in relation to an orderly shape becomes asym-metric to the nearest surroundings.

Probably nowhere else is the mechanistic metaphor PRUH HYLGHQW WKDQ LQ WKH &HQWUH *HRUJHV 3RPSLGRX LQ Paris from 1977 designed by Richard Rogers and Ren-]R3LDQR$FFRUGLQJWR*KLUDUGRWKHUHDUHVHYHUDOW\SHV of architecture of contemporary museums, i.e.: shrines, warehouses, and cultural shopping malls [12, p. 72], and the building which houses the central public library of the capital of France – Bibliothèque Publique d’Information ± VKRXOG EHORQJ WR WKH VHFRQG W\SH$ VWHHO ³UK\WKPLF´ FDJH ZLWKRXW DQ\ LQWHUQDO GLYLVLRQV PD[LPL]HV WKH ÀH[ -ibility of space. It is a kind of warehouse, a neutral con-tainer for cultural diversity. As much as is happening in-side it due to the multi-functionality of that space can also happen on the building which is covered by a network of winding walkways as well as pipes and ducts. All utility GXFWVDUHH[SRVHGZLWKVSHFL¿FFRORUV±UHGDQGJUD\IRU stairs and elevators, blue for air-conditioning, green for water, yellow and orange for power supply. That aggres-sive marking – despite succesaggres-sive paint applications – has been deliberately deprived of its urban context. On the contrary – it has become its glaring contrast [22], which is especially evident when looking at the building – a steel ER[VTXHH]HGLQWKHWUDGLWLRQDOLQQHUFLW\GLVWULFW7KHRQO\ complement of the Centre is the fountain by the building. Juggling with the contrast proved to be the main semi-otic tool which is supposed to surprise the viewers. This is connected – which in the case of a library, usually associ-ated with a static institution, is important – with the utili-ties. Their constant circulation and dynamics suggest the DFWLYLW\RIWKHRUJDQL]DWLRQVPDQDJLQJWKH&HQWUH

As Jencks put it, postmodern buildings are exaggerated versions of modern construction designs which are logical, and communicative, enriched by double coding including the elements of tradition and locality [15, p. 133]. The contem-porary architect can choose from among such signs which are understood and known to the users despite the fact that there is a multitude of symbols regarding different times and places. Such an architect cannot create new symbols which in social perception will not be associated with something familiar which is not connected with an already accepted sys-WHPRIVLJQVDQGVSHFL¿FSUDFWLFDOGHWHUPLQLVP>S@,W Fig. 5. Universiteitsbibliotheek Uithof. Photo: J. Bosman

is the internalized codes that determine a library as “such and such”. Whenever it is different, like in the case of the pub-lic library in Seattle or the blob-architectural project of the national library in Prague – it causes concern, irritation, and SURWHVWEHFDXVHLWLQFOXGHVXQFOHDUFRGHVZKLFKGRQRW¿WWKH pattern of a library developed from experience. Usually it is claimed that denotation is information present in an architec-tural object which determines its functions, whereas connota-tion is a kind of ideology of those funcconnota-tions – communicat-ing their scope of meancommunicat-ing [23, p. 188–189]. Hyper-modern libraries connote information about institutions operating inside them in a different way than expected by people who live especially in places where traditional looking buildings dominate, as for instance in Prague. Just like in the case of the FRQFHSWLRQRI-HQFNV¶FODVVL¿FDWLRQ±WKH\UHSUHVHQWDYDULHW\ of values, meaning they are impersonal to a larger extent than in the past. For library buildings it is an advantage favoring its egalitarianism.

When writing about architecture of libraries, Ghirardo VDZ WKH GRPLQDQW LQÀXHQFH RI XUEDQ ³ZDUHKRXVHV´ 6KH FODVVL¿HG DV ZDUHKRXVHV WKH th-century Laurentian Li-brary in Florence, the Wren LiLi-brary in Cambridge from the next century, the 19th_{-century Bibliothèque} Sainte-Genev-iève in Paris and the libraries which have been built over the last few years. It is probably the only clear indicator of coherence between old and contemporary libraries. Her analysis does not indicate that the libraries – especially post-modern ones – could be cultural shopping malls or more so shrines, though she noticed the germ of changes in the project by Koolhaas which lost the competition for the new building of the national library in France. However, it should be noted that libraries in the future, especially public libraries which are present most often in some social en-vironment, will not operate primarily in order to provide access to books. Apart from that, they will offer data on electronic carriers. Libraries will look for users by placing offers which will differ from the library and information operations in their traditional meaning. They will be – in a universal scope, as in the individual one they already are – offers meeting the so called everyday needs. The sacred FKDUDFWHURIOLEUDU\DUFKLWHFWXUHZLOOQRW¿WWKHPDQGH[ -cept for museums it will not return. Their forms will have to communicate with the users at a different level. That symbolism will have to be obvious and tangibly express the new functions of the institution. This causes concerns con-QHFWHGZLWKWKHGLI¿FXOW\LQXVLQJFRGHVZKLFKSRWHQWLDOO\ would be reserved or at least connected with libraries.

Biblioteca Pública del Estado de Jalisco Juan José Arre-ola in Guadalajara which was opened in 2011 is an example which seems to illustrate that we are running out of symbols expressed in the solutions applied in the library

construc-tion. Its design brings up associations with the styles as-sumed in the Center for African-American Arts and Cul-ture in Charlotte, USA, the designers of Biblioteca Pio ,;±3RQWL¿FLD8QLYHUVLWj/DWHUDQHQVHLQ5RPH)LJ DQG¿UVWRIDOOWKHQHZEXLOGLQJRIWKH-HZLVK0XVHXPLQ Berlin designed by Daniel Libeskind. The problem is that although the warped structure of the building façade in the capital of Germany alludes to the Star of David – “fallen” and “destroyed” by the Holocaust, it is not symbolically es-WDEOLVKHGLQWKH0H[LFDQPHWURSROLV7KHIRUPRIWKHIDoDGH is only the aesthetic cover of a simple cuboidal building taken out of its cultural context. Keeping in mind that the Library is supposed to be a “gate” leading to the university FDPSXV±OLQHVDQGLUUHJXODUJHRPHWULF¿JXUHVFRYHULQJLWV H[WHUQDOZDOOVUHVHPEOHPRUHDIRUWL¿HGJDWH7KHEXLOGLQJ looks like a skin wounded by gigantic claws but none of these interpretations of the architects’ idea has much to do with the symbols of libraries described in the book. No spe-cial sophisticated composition of geometric “penetration” with its semantic code is visible there either. So a modern library does not have to be placed somewhere, sometimes, and for some reason. It does not even have to draw from rich traditions of architecture of this type of buildings. It is supposed to look nice or provoke – in a word generate in-terest and thus attract. The popular thinking which is driven by marketing reasons makes any idea of the architect good. As long as in the past one could look for some meaning PDLQO\DQDORJ\RIWKHODQJXDJHRIDUFKLWHFWXUHWRWKHIXQF -WLRQVRIIHUHGLQWKHEXLOGLQJQRZDGD\VRQHFDQDVVXPH that some projects are dominated by symbolic nonsense.

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Photo: T. Kruszewski

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Summary

The 1980s and 1990s are considered the best times in WKHKLVWRU\RIGHYHORSPHQWRIOLEUDULHV>S@7KH¿UVW decade of the 21st century does not demonstrate regress either. It seems that one of the fundament reasons is hu-man desire to leave some tangible marks which would

distinguish present times from other periods in the future. This desire is primal and typical of our species, however, nowadays, in the postmodern society looking hard for its LGHQWLW\LWVVLJQL¿FDQFHLVVSHFLDO$UFKLWHFWXUHLVDIRUP which can be relatively certainly created even if

provo-cation is its only distinctive feature. It can be treated in opposition to utilitarian aspects – as an object of art and even folk art. Libraries belong to those types of buildings in which a greater role is attributed to meaning than to as-sumed formula [4, p. 8].

According to one more typology where a “container” is a type of object – a kind of packaging for what is inside, whereas a “laboratory” is a building causing archetypical UHDFWLRQV>SS±@LWLVQRWGLI¿FXOWWRVHHWKDW architecture of libraries belongs to the latter. At the same WLPHRYHUWKHFHQWXULHVRILWVHYROXWLRQDIRUPVSHFL¿F to libraries has not been developed – and most prob-ably never will develop. Apart from adapted buildings, a trend is visible to focus on the form of the building. The forms which appear most often include cuboids and other polygons, less frequently – ovals (and when they do, they cause a lot of interest, despite their objective simplicity – e.g. the Ruskin Library). Emphasis is placed on shape, with ornaments only sometimes complement-ing it, and sporadically reverse proportions – for the ben-H¿WRIGHFRUDWLRQV7KHVHDUHLQJHQHUDOWKHIHDWXUHVRI contemporary buildings anyway. Consequently, in a way this provides a negative answer to the question whether the forms of libraries belong to exceptional architectural designs of the past or contemporary? The shapes of the

buildings are sometimes strange, e.g. the Public Library in Tampere (Tampereen kaupunginkirjasto) whose con-tour resembles that of a turkey. However, the forms of buildings designed for different uses are strange too. The relations look similar as regards the assumptions of ur-ban development and design. Libraries can boast their attractive appearance, solutions demonstrating that a lot of attention is paid to their designs, e.g. the public li-brary in Qingp (part of Shanghai agglomeration) built on a lake. However, other public utility buildings also have XQLTXHORFDWLRQVDQGVLJQL¿FDQWDHVWKHWLFYDOXHV$OOWKLV causes some dulling of senses. There are a lot of extraor-dinary buildings whose uniqueness is lost in abundance. Another factor weakening the strength of signals being emitted with the use of architecture of libraries is fash-ion. Consequently, both materials and colors as well as the whole form reduce the level of diversity and actually distinctness of concepts of projects.

Uniqueness is determined by a low level of competi-tion and, to a lesser extent, by aesthetics. Addicompeti-tionally, since marketing has been employed in the civilizational development, it has become a norm to make every effort to draw attention or catch the eye of the passer by – a po-tential consumer. The intentional isolation of the message FRPLQJIURPWKHOLEUDU\LVPRUHGLI¿FXOWWKDQHYHUEHIRUH

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Translated by 7DGHXV]6]DáDPDFKD

0RW\Z\V\PEROLF]QHZVSyáF]HVQHMDUFKLWHNWXU\ELEOLRWHN–QDMF]ĊVWV]HWHQGHQFMH

Key words: contemporary libraries, architecture of libraries, symbols,

semiotics of architecture 6áRZDNOXF]RZHZVSyáF]HVQHELEOLRWHNLDUFKLWHNWXUDELEOLRWHNV\PEROLka, semiotyk architektury

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